外文翻译---国际贸易中的文化商品和服务

本科毕业设计(论文)外文翻译

原文：

Market opportunities:

International trade of culture goods and services

Quarterly Bulletin from the Culture Statistics Program

Catalogue no. 87-004-XIB Winter 2000 Vol. 12, No. 4

By Cindy Carter and Michel Durand

Canada?s 2001 Speech from the Throne outlined thesignificance of the nation?s culture in an increasinglyglobalized world. It recognized that the opening of newmarkets provides new outlets for Canadian culturalcommodities and services. Accordingly, the governmenthas made a commitment to advance Canadian cultureby providing Canadians and international audienceswith enhanced access to Canadian-made culture goodsand services.

Key industry players believe that globalizationprovides opportunities for Canadians to increaseculture exports, particularly in those niche marketswhere Canada is known to be competitive. As thedomestic market is small, the growth of internationaltrade is fundamental if Canadian companies are tocompete over the long term. Government policy worksto ensure that Canadian culture goods and services,which reflect a community with ancestral roots inalmost every country in the world, will also appeal to agrowing international audience.While culture goods and services are highly marketablecommodities, the globalization of culture also accentuates

Canada?s traditional concerns about foreigncontent and foreign control of the domestic marketplace.Just as expanded international trade opens newmarkets for Canadian goods, it increases our exposureto the culture wares of other countries. Consequently,the focus of new cultural policies, as found in theSpeech from the Throne, is on excellence in the creativeprocess, the creation of diverse Canadian content and improved access to the arts and heritage for allCanadians. Canadian creators (artists, writers, andperformers) are called upon to promote Canadiancreativity across all media.

The international context for trade incultural goods

According to the United Nations Educational, Scientificand Cultural Organisation (UNESCO) Institute forStatistics, world trade in cultural goods rose from $47.8billion (U.S.) in 1980 to $213.7 billion (U.S.) in 1998(from $12 per capita in 1980 to $45 in 1997).1 In 1998,culture goods exports exceeded imports in developingcountries, whereas in the developedcountries, the reverse was true.According to UNESCO, in 1998,global flows of trade in cultural goodswere concentrated between relativelyfew countries with trade that was“unbalanced, heavily weighted in onedirection with few producers andmany buyers.”While the balance oftrade in cultural goods (i.e.

thedifference in value between importsand exports) was relatively even formost countries, trade surpluses ordeficits were sizeable for a number ofvery active trading nations. Themain net exporters (countries withthe most significant trade surpluses)wereJapan, China, Malaysia,Mexico, Ireland and the Republic ofKorea. The main net importers(significant trade deficits) of culturalgoods were the United States, HongKong, Canada, Australia, Belgiumand the Netherlands. In 1998,thirteen countries, including Canada,were responsible for more than fourfifthsimports and twelve countries

of accounted for the same proportion ofexports. It is within this contextthat Canada is working to expandthe size and types of its cultureexports and gain access to newmarkets

Opportunities can be foundin foreign markets

A significant number of Canadianartists are now capturing the attention

of consumers from Canada andaround the world. This has helped toforge an identifiable image for Canada,a sense of what we stand for, and anappreciation of our culture. The recentinternational success enjoyed by theculture sector can be attributed to anumber of factors: maturing culturalindustries, exceptional performancesby creative and performing artists,increased marketing and promotionefforts, growing private and publicsector partnerships and, generally, adynamic international trade environment.The result is that, over thepast ten years or so, the Canadiancultural sector, in particular the filmand video production sector, hasfinally been able to make substantialinroads into foreign markets.

The domestic market for culture productionis small and segmented;increasedpenetration of foreignmarkets is critical if the Canadiansector is to become more viable. Infact, the development of niche marketsis one approach that has beensuccessful for other trading partnersand some Canadian companies haveworked to replicate the approach. Tensof thousands of jobs (an estimated 5%to 10% of culture jobs) are sustainedby exporting activities. The sectorsmost influenced by export-based

employment in 1997-98 were the filmand video production sector (38% ofall jobs) and post-production andlaboratory services (41% of all jobs)

The North American Free TradeAgreement (NAFTA), the EuropeanUnion (EU) and the alliance of Asiancountries offer new outlets for Canadiancultural products and services.Exports, which are assuming anincreasing share of Gross DomesticProduct (GDP), now appear to be themajor engine of growth for the culturesector. In effect, the value of exportedculture commodities, services andintellectual property reached approximately$4.5 billion in 2000. Thisrepresents a 38.4% increase over1996

United States still ourbiggest export market

While Canada trades with virtually allcountries, certain markets haveproven to be more welcoming thanothers for the culture sector. TheUnited States overwhelminglycontinuesto be our most important exportmarket for all cultural products andservices. In fact, according toUNESCO, the United States is thenumber one importer of culture goodsin the world.In 2000, the North American regioncaptured a whopping 94% of Canada?sculture commodity exports (a value of$2.22 billion), a 9.4% increase inmarket share over 1996 .The value of exports to the NorthAmerican market (overwhelmingly tothe U.S.A.) increased by 61% between1996 and 2000 Canadian culture commodity exportsto the Western Europe region heldthe second highest market

share nextto North America from 1996 to 2000.However, during the same period,there was a 45% decline in the valueof exports to the traditional WesternEuropean market; whereby the valueof exports to the United Kingdom,France, and Germany dropped 2%,51%, and 65% respectively. Exportsmay have declined, in part, due toincreased internal trade within theEuropean Union. Excluding NorthAmerica, the value of trade in theremaining regions has declined withthe exception of the Middle Eastwhere the value of Canadian exportsincreased by over 5% between 1996and 2000 Markets in the …Other Asia?regionoffer opportunities for Canadiansthat, as yet, have not reached theirpotential. Canadians had anticipatedgrowth in trade with this region butmany of these markets were affectednegatively by the Asian economic crisisin 1997-98. In 2000, Canada sawimprovements with exports reaching90% of pre-crisis levels, in terms ofvalue, for all commodities.Given its current performance in commoditymarkets other than the UnitedStates (e.g., Central America, Oceaniaand the Middle East10), it would appearthat there is scope fo Canadianexporters to make important gains inmarket access negotiations in theseregions. Aggressive trade promotion,more effective on-the-spot representation,and competitive financing willundoubtedly be part of a concertedmarketing effort by Canadians

Canada one of world’sgreatest importers ofculture products

have emerged as thedominant players in the culture industriesin Canada. The reasons aresimple. These foreign subsidiariestend to market imported goods that

have often already recovered theircosts in their home markets.Furthermore, the revenues from thedistribution of these products do notaccrue to the Canadian companies thatare the most likely to help finance thedevelopment of domestic talent.

Thesemultinationals enjoy natural advantagesof scale in serving a NorthAmerican market. Little or no risk isinvolved in distributing their popular,“mass-appeal” U.S. films, books, andrecordings in Canada. Our bookstores,news stands, record shops, cinemasand television screens testify toCanada?s position as one of the greatestimporters and consumers of culturalproducts in the world. Canadiansenjoy wide access to other culturesthrough imported products; in part, themulticultural composition and heritageof our population feed this interest.Foreign multinationals are not the onlyones involved in distributing importedculture products to Canada. Given thesmall size of the main markets inCanada it is extremely difficult todevelop, produce and distributeCanadian products at a profit. Thisis particularly true for the productionof French-language products for thesmall domestic market. The result isthat Canadian companies, whichfinance the overwhelming majority ofthe “less profitable” Canadian culturalproducts, do not usually becomeself-financing by dealing in Canadianproducts alone. Financial solvencyoften comes from the licensing anddistribution of imported products forsale in Canada.

In 1996-97 theimportation of culture products byCanadian-controlled firms accountedfor 57% of their record sales, 44% oftheir book sales, and 69% of their filmand video distribution revenue, anindication of the role and contributionof imports even forCanadiancontrolledcompanies.As both Canadian and foreign playersare competing for the higher profitmargins associated with the distributionof imported cultural products, itis not surprising that the marketshare of local productions is erodingsomewhat. The continued demandfor imports are making the cultureeconomy, in particular indigenousculture development, a very fragile,volatile and highly competitive sector.

For example, Canadian theatricalfilms represented only 2.1% of revenuesof theatrical films

distributed in1997-98 while Canadian home entertainmentfilms (TV andPAY-TV)accounted for 12.4% of total revenuefrom this activity in the same year.However, on the positive front,imports of culture goods and servicessupport an estimated 300,000 to400,000 jobs in Canada, andCanadian companies get a sizeablepiece of this importing activity.

But growth in demand forimports slowing down

The total value of imported culturecommodities, services and intellectualproperty, reached over $7.5 billion in2000, representing a 22.7% increaseover 1996 (table 1). Much of thisgrowth is attributable to consumerdemand in Canada. Between 1996and 1998, Canadian expenditures ondomestic and imported culture goodsand services increased by 14.6%, anaverage of 6.1% annually This growth was greater than the10.5% growth of expenditures on allgoods and services in the same timeperiod. Overall, however, cultureexpenditures, which are still a relativelysmall proportion of total expendituresby Canadians on goods and services,hover around 3% each yearCurrent trends in demand for importedculture commodities demonstrate thatgrowth is slowing down. While therewas a 13.1% increase in cultureimports between 1996 and 1997,subsequent years have shown muchslower growth: -3.7%, 5.9% and 1.6%respectively between 1997 and 2000It is difficult to predict theeffects of domestic consumption ofculture on import levels. Manyeconomic and socio-economic factorshave the potential of affectingdomestic consumption patterns andconsequently influence the quantity ofgoods and services that are imported.Consumer demand for culturalcommodities is often fairly priceelastic so that the effects of price, consumer debt, personal income, aswell as demographics, may have aneffect on demand for culture productsgenerally, imported or domesticallyproduced.

United States is our biggestsource of imports

The United States continues to be ourmost popular source of imports for allcultural products, counting for 83% ofour culture commodity imports in2000.14 The value of commodityimports from the U.S.A. reached over$3.9 billion in 2000 This is the result of a combination ofinfluences including proximity, thegrowth of multinational corporationsand, like many other countries,Canadians? avid interest in Americanculture products such as books,movies and music.While the value of the North Americaregion imports of culture commoditiesincreased by over 13.2% from 1996 to2000, its market share of totalimported culture products in Canadafell by 3.4%, indicating that othercountries are making some inroadsinto Canada Imports toCanada from the …Other Asia? traderegion grew almost 85% in value f rom 1996 to 2000, with its share of totaltrade also rising 2.3% during thistime period, maintaining its positionas the third ranked import region.Western Europe retained its positionas the second ranked import regionthroughout; the value of imports grew20.7% from 1996 to 2000,representinga 3% increase in the share oftotal imports.

Commodity tradecontribution to culturetransactions

Statistics Canada disseminatesmonthly data on merchandise tradeapproximately fifty days after thereference period, making it one of themore timely trade data sourcesavailable. Culture commodity tradeactivities account for only about half ofall culture international transactions;monetary transactions associated withculture services and intellectual

propertyaccount for the rest. Still, it is usefulto examine the latest trends in importingand exporting activities of culturecommodities.In general, culture commodityexports are growing faster thanimports, although the growth rate forboth has slowed during the latter halfof the 1990?s. Comparing 1996 and2000, culture commodity exportsgrew by 47.3% compared to 17.2%for imports.

The trend of larger export growthrates vis à vis import growth rates isreadily apparent during the last threeyears with growth in exports hittingdouble digits compared to the singledigit growth in imports (table 4).In 2000 the greatest value of culturecommodity exports was derived frommusic, other recordings and software(22%), followed by advertising material(20%) and books and printingservices (17%). These three commoditygroups together accounted fornearly 60 percent of the value ofculture exports in 2000. On theother hand, around 80 percent ofCanadian cultural imports that year

were allocated among books andprinting services (30%); music, otherrecordings and software (27%); and;newspapers and periodicals (22%).

Canada’s net culture tradeposition improving

Canada still faces a large trade deficitin terms of culture goods and services;the value of imported culture goodsand services surpassed the moneyearned by exports by $3.05 billion in2000. This picture is moderated,however, by positive changes to rates ofexport and import. Exports areshowing annual increases greater thanthe rate of inflation and the value ofimports is not growing as quickly. Thisstrong export performance decreasedthe import to export ratio from 1.90:1to 1.68:1 over the same period

Conclusion

As we move further into the newdecade, factors such as free tradeand the growing world market forculture products and services willlend new force to the question of whowe are as Canadians. The existenceof Canadian culture institutions andindustries, with the ability to producecompelling and competitive productsand services, will ensure thatCanadians continue to share in thegrowing world trade in culture.increasingly find themselves competingwith other players in the entertainment-sector for audiences and discretionarydollars. Technology has takenon an increasingly significant role asCanadians bring the Internet into theirhomes and, at heritage institutions,they participate in simulated

environments and interactive exhibits.These developments mean thatheritage institutions must both adaptto the changes in the environment andcontinue to meet the traditional challengesof acquiring and preservingcollections.

Cindy Carter is a research analyst in the

International Trade Division

MichelDurand is Chief, Research and Communications,

旅游服务贸易外文翻译文献

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